A workshop scene by Jan Miense Molenaer (1610–1668 fig. Nonetheless, there are various paintings that show light coming from a window built high up on the wall, for example in The Painter's Studio, by Joost van Craesbeeck (c. The most advantageous system of illumination was to be obtained in studios with large windows divided into four squares, called cross-windows. They would, if they had been in a proper studio, have given their excellent works far more life, force and veracity?
as well as the strength of the light so that all colors become diminished and confused to them. have erred in that too small chambers, everywhere filled with light and sunshine, served them for their work: whereby lacking the space and the necessary distance to walk far enough back and forth from their model or panel, to inspect their work from a distance. The German art historian and painter Joachim von Sandrart (1606–1688) wrote that studios ought to be about 9 meters square and illuminated sufficiently, although direct rays of the sun should be avoided. The most important points to consider for an ideal studio were the size of the room and the lighting. History painters often found a separate studio ( schilderhuys) necessary.
If he had the opportunity, he liked to work in an environment with at least two windows, which afforded him the possibility to distance himself from the subject as well as the opportunity to open and close the windows to create compositional alternatives and interesting atmospheres. The painter of interiors needed more space still. The portrait painter, instead, required more space and a larger window to cast light on both his sitter and his easel while remaining at a comfortable distance from the subject, as many representations clearly demonstrate. The still-life painter collected the objects of his choice and arranged them on a small table, painting them directly and from close range. If he got enough light on his work he was satisfied it was not necessary to group anything but a few drawings on the floor nearby his easel. The first always worked from drawings and sketches he had made on his trips by field and path, and therefore a space with only one window was sufficient. 1), these were again different from those who painted interiors only.
The landscape painter had different requirements from the still-life and portrait painter (fig. But not all artist's studios were laid out in the same way. In the seventeenth century, most painters kept their studios in their homes, often in the upper story where dust and noise might be less intrusive. Formerly Gemäldegalerie, Dresden (lost in WWII)
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